![]() Grain resolves naturally throughout the presentation. There are some minor contrast variations between the location work outside and the studio bound sequences, but on the whole blacks are veryĭeep and gray scale nicely modulated. Offers good detail levels across the board, though some relatively wide shots of the still bombed out London can lack significant amounts of fine detail at That said, this is another very pleasing looking presentation, one that ![]() Out in 2015, which would suggest something that may not be strictly "new". All of the releases in this set bear a StudioCanal logo, and I'm assuming this was probablyĬulled from the same master as the UK Blu-ray release StudioCanal put Terms of providing any technical information on the transfer. As has been the case with several Film Movement releases I've reviewed, the insert booklet offers only a generic "new digital restoration" in Hue and Cry is presented on Blu-ray courtesy of Film Movement Classics, an imprint of Film Movement, with an AVC encoded 1080p transfer Really trust any of the adults give this film a rather distinctive flavor. But the settings and underlying tension of kids who can't And my hunch is the film's final sight gag, whichĬalls back to its opening shot, will probably provoke laughter in most. The film is arguablyĪ bit over convoluted, and I wouldn't be surprised if some viewers didn't classify this as an out and out "comedy", though there wereĬracked me up, including some dealing with a "hostage" the kids take, for a moment, anyway. In the meantime, though, Joe is able to recruit a gaggle of other kids, and they even manage to meet the writer of the comic, an eccentric namedįelix Wilkinson (Alastair Sim, in what almost amounts to a glorified cameo), who is initially clueless about how his original work is being altered toĭeliver coded messages. Telegraph itself, though the extent of various subterfuges may strike some as extreme and contrived. This is one part of the film that perhaps can't help but Some adults finally do get involved, their motives might not be entirely pure. Without posting outright spoilers, suffice it to say that when In this case it's a boy named Joe Kirby (Harry Fowler) who figures out that Trump isīeing used as a messenger service of sorts to dole out orders to a bunch of thieves. Hue and Cry relies on a conceit that has been a feature of any number of films, including outings as different from this one as Invaders from Mars, where a kid knows something nefarious is going on,īut he can't get any rational adult to believe him. Unexpectedly funny - Trump that is being used to convey secret coded messages to a gang, something that comes to the attention of a Weirdly apocalyptic element to a tale that is otherwise wrapped up in a comic book called - and here's the part that may strike contemporary eyes Though, is that it was shot in either late 1946 or early 1947 (its official release was in late February 1947, so I'm assuming late 1946 for the shoot),Īnd it makes liberal use of London locations that are still piles of rubble in the wake of the then recent end of World War II. What is salient about this being the first Ealing Terms of also featuring a criminality element that lends certain suspense aspects to the tale. Presages later efforts like The Lavender Hill Mob in ![]() Hue and Cry is often cited (rightly or wrongly) as being the first so-called "Ealing comedy", ![]() Unintentionally funny or even provocative. Riches, and occasionally with some chicanery and other shenanigans involved.Įven if some feel this film doesn't completely knock it out of the ballpark, Hue and Cry is a really interesting addition to this setįor a number of reasons, one of which may strike modern day viewers as Written, performed and directed outings that have a few linking elements besides Sim himself, including plots sometimes centered around the quest Film Movement has now come to the rescue in that regard and assembled four charming Sim comedies that bridge the years of 1947 toġ960, and which offer a fine assortment of well Quite a bit of the rest of Sim's multi-decade long filmography just doesn't seem to be that well known by the public at large on this side of the The title billing) or even his latter day stint in The Ruling Class, but A few outliers might have vague memories of Sim in such underappreciatedĪs Green for Danger (a film where he notably wasn't even given Inimitable portrayal of one Ebenezer Scrooge in the 1951 version of Charles Dickens' immortal A Christmas Carol. Note: This film is available as part of Alastair Sim's School for Laughter: 4 Classic Comedies.Ĭhances are if you are like many, maybe even most, American filmgoers, you tend to associate Alastair Sim with one thing and one thing only: his Reviewed by Jeffrey Kauffman, April 17, 2020 ![]()
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